Thursday, January 29, 2026

Murals of Swindon

 

Shaw Ridge subway, West Swindon. 18 December, 2025.


A post to celebrate our new mural (December 2025) in the Shaw Ridge subway leading to the Link sports centre. It's by Jaksta Art.


Shaw Ridge subway, West Swindon. 

Shaw Ridge subway, West Swindon. 

Shaw Ridge subway, West Swindon. 

Shaw Ridge subway, West Swindon. 

Shaw Ridge subway, West Swindon. 

Shaw Ridge subway, West Swindon. 

Shaw Ridge subway, West Swindon. 

Shaw Ridge subway, West Swindon. 

Shaw Ridge subway, West Swindon. 

Here's a few other murals around Swindon:

Commercial Road, Central Swindon.


Newhall Street, Central Swindon (Jaksta Art)



Regent Street,  Central Swindon. 

Regent Street, Central Swindon (Jaksta Art)

Westmead subway, West Swindon. 

Westmead subway, West Swindon. 


Westmead subway, West Swindon

... Possibly referring to the Bird Cherry Ermine Moth, which regularly attacks nearby trees:




Beaumaris subway, Freshbrook (Jaksta Art)

Beaumaris subway, Freshbrook (Jaksta Art)

Bodiam Drive subway, Toothill (Jenna Fox)


Subway under Great Western Way near Tewkesbury Way, West Swindon. 




Beside Westmead cycle path, West Swindon (Jaksta Art)

Beside Westmead cycle path, West Swindon (Jaksta Art)

Beside Westmead cycle path, West Swindon (Jaksta Art)

Beside Westmead cycle path, West Swindon (Jaksta Art)

Shire Close (Southern Flyer cyclepath), Central Swindon (Jaksta Art)

Cambria Bridge (Southern Flyer cyclepath), Central Swindon 

Cambria Bridge (Southern Flyer cyclepath), Central Swindon



Near Canal Walk (Southern Flyer cyclepath), Central Swindon.  


N. Wilts Canal Rail Subway (Western Flyer cyclepath), Central Swindon. By Luke Gray, 2024.

Subway under Great Western Way (Western Flyer cyclepath), Central Swindon 

Subway under Great Western Way (Western Flyer cyclepath), Central Swindon



Labels:

Saturday, July 09, 2022

Poem (Swindon, 25 February 2019)




The dipping sun behind those skinny trees, 
the trees I came through just now, when I found 
the hill all gone in shadow, just the one
last copper shoulder where the ridge swings round;
I ran like crazy into this plot of sun
    and fell upon my knees
in wintry tussocks, streaks of green and buff.
And that's it gone, but still the grass is dry
in this unwonted, warmed-up February,
though evening dew, night frost, come soon enough.

“All the live murmur of a summer's day”...
Indeed, one bumblebee sailed in and out
of the hedgerow's tracery; no leaves as yet,
nor flowers, except near the Meads roundabout
the purple lines of crocus loosely set
     along Great Western Way
bathe in false summer, Mediterranean spring...
the lemon mahonia in business parks,
the thin-twigged winter cherry that always marks
warm hours with a rosier smattering.

The strollers and their dogs are on the hill,
where three weeks past, on snow, toboggans ran;
the girls now pushing pushchairs, and the boys
flitting in furtive bands, from which you can
smell weed emitting, low laughter and noise.
      Everyone's here to chill,
in the last rays of a half-term afternoon;
the swings and slides full of the children's cries
and yellow alder catkins and spilled fries
on walkways, which the lights will shine on soon.

And on the tarmac autumn leaves lie flattened
by many feet, so crushed the grit shows through;
these leaves becoming spectral, mere remains
of form and fibre; though their shapes stay true
no urgency of sap burns in their veins --
         and yet this faded, patterned
carpet makes the shade of homeward glow,
so tranquil and so open is this dark.
And still, threading Shaw Ridge to Lydiard Park,
comes many a runner from the homes below,

like martins skimming past you in a lane,
just podcasts on the air, you watch them go
on swoosh heels making distance in a blink,
acting a dream of flight from life so slow
its thoughts themselves hardly aspire to think
       in any fresher strain
but bear the family and pay the bills --
while these consume and fling aside the maps,
break through the ring-roads and by dawn perhaps
stand free and shivering on the Cumnor hills?

No, runners, for they call you to your homes!
Panting on footways through the winter trees
above the pipework laid by Wales and West,
where gas from Russian tundra, Nordic seas,
flows into regulated banks, expressed
         in soft erupting flames,
hot water coming on reliably --
let's go, before the dusk raises a wind on
the gloomy terraces of Even Swindon,
we can still dive in the shower before tea.



[A poem begun in Swindon in February 2019, finally completed a couple of months ago.]

Labels: ,

Wednesday, November 25, 2020

mysteries of west swindon: the dryad

 

Hagbourne Copse. Swindon, 24th November 2020.

I had a dental appointment in Swindon, but I no longer live there, so I had to make the journey from Frome. Just before the appointment, as the afternoon darkened, I stopped off at Hagbourne Copse, on the edge of Swindon, to have a smoke and a wee, and to clean my teeth. 

Alan Mitchell tells us that trees cannot fuse, and that branches always branch outwards, they cannot knit together again. And indeed how could that possibly happen, when only the outside of a trunk or branch is alive, the inner wood is inert? 

So I have no explanation for this dryad or huorn, some 20 feet tall, who "stands" beside the main woodland path. I imagine the woodland volunteers have tidied up and preserved this arresting sight.  

The only guess I could come up with is that it's a relic branch, presumably oak, from a long-gone tree. Perhaps it partially broke off from its parent tree, its branch tips touched the ground and rooted, then thickened as they supplied the branch with water and nourishment from the wrong end. (But that isn't really possible, is it? Could water conduction in the xylem switch direction?) 

Only the heartwood remains now, and it looks quite fragile, so it's probably worth a few more photos before someone pushes it over. 

"Dryad". Swindon, 29 January 2021.

"Dryad". Swindon, 13 November 2023.

Last time I saw the dryad I took a closer look and decide that both "feet" rose from the same rootstock. This prompted a new theory: the tree originally had a single bole until at least 15 meters high. Then something happened, by accident or design, that created a large cavity in the lower part of the bole. The tree survived, and when much later it died the outer layers of the bole abraded leaving only the heartwood: the dryad you see today. 

I'm not in the least convinced, but it gets round the difficult issue of how separately growing processes could ever become seamlessly joined.

Labels: ,

Tuesday, July 28, 2020

The last of Swindon



Raising the kitchen blind at 0630. The sun's up. The shadow of the cherry tree on the gable wall. The softer shadows.



The unequal pair of rowans, becoming colourful again. Last autumn I made a lot of rowan jelly!






Plants we inherit are never valued like those we plant ourselves, so I don't expect the garden I'm leaving to be much loved. But I've loved making it, and here's a photo to remind me. Let's have a walk round.

Front right, by the recycling boxes, the sage is enjoying a second flurry. When it flowered the first time, it was almost buried under masses of celery and angelica, but that's all gone now.

I've gradually quietened the garden since I decided to leave. All the seeding stems have been cut back, a few pots and baskets have been moved to Frome, the various wild plants that I was nurturing (mainly willowherbs) have been weeded out.

Behind the sage are a group of chuckout pots that came from Laura's garden. These had the usual treasures: meadow cranesbill, purple toadflax, red valerian,  violets, forget-me-nots... And that architectural rush in the trough, ultimately from Moredon, one of my many previous Swindon residences. 

Behind those, you can see the Chinese Holly Fern that was the first thing I planted, nearly 18 months ago. It was a messy sale item and it continued to look messy for the next year or more, but now I'm very happy with it and expect it to improve by the year, if it's allowed to.

Going left from there, a small red and white fuschia in peak flower, and left of that, a patch of miscellaneous growth now dominated by a tall Common Evening-Primrose. Behind it, one of the geraniums I wrote about here:


And behind that, the redcurrant bush, which will produce a lot of berries next year. Also an Italian Alder, a poisoned chalice I suppose but I'll leave it to future tenants to cut it down; and a Lathyrus which has suddenly doubled in size and may even flower.

We've almost finished this indulgent tour. Along the back edge, the cornflower and lungwort (from Laura) which were so successful this spring. In the middle, more of the old pots, erigeron, valerian, geranium...

On the left, a lavender planted this year, whose flowers I've just stayed long enough to see. I won't get to see the Astilbe, which is belatedly in bud. Behind the lavender, but invisible, is a lemon-balm, which is finally looking established and will now, I hope, be impossible to get rid of. Even we flitting tenants have a bit of the colonizing instinct!



Much slower to colour than the rowans, this is the Swedish Whitebeam I could see from my flat when I looked in  the other direction (approximately ESE).


Looking back on this rather isolated time of my life, I'll most remember exploring the many Green Hound's-tongue sites in West Swindon, a journey that began here:



Also, the two albums of songs that I recorded while here:



And, above all, sitting on the faux-leather sofa learning Swedish, the many hours of painstakingly deep-reading the Norrland novel that I'm now translating in full:


And now to clean that bathroom...


Labels: ,

Friday, June 05, 2020

The internet knows best

Engine Sheds, Kentish Town, London (1955 painting by Roy Bizley)

[Image source: https://artuk.org/visit/venues/swindon-museum-and-art-gallery-5267 . In the Swindon Museum and Art Gallery. Roy Bizley was born in Swindon in 1930, studied at the Slade and became an art teacher. He died in 1999.]


At the Swindon writer's groups I attend they've been telling me for ages that I ought to pop in to the Museum, it's fantastic. But I didn't take much notice, even though I often pass the building when I have reason to go up to Old Town. Though I'm in every way a provincial I have quite low expectations of provincial institutions and going to museums isn't something I often do. I salted away the recommendations but without much thought of following them up any time soon.

Until this morning, when I was clicking through the Guardian culture pages and came upon this fun art quiz based on some of the paintings held there:

https://www.theguardian.com/artanddesign/2020/jun/04/great-british-art-quiz-swindon-museum-art-gallery

And I was overwhelmed. Even more so, when I scanned through the 300 images you can see via the Art UK link given above. I realized, belatedly, that I'd been missing out on a fabulous collection of modern art right on my own doorstep. If the museum wasn't closed for lockdown, I'd be setting off to go there right now.

*

It's common to many or perhaps most of us: we chat with our friends and the people we meet, but we take our information from the internet.

In a case like this the internet had obvious advantages; it could instantly show me images of what I was missing. What could words do to match that? Vague assurances the museum is very good, well worth a visit...? Unless we're specifically looking for guidance, aren't we apt to append a mental reservation to the things we're told in person, something like So that was your impression ... And we're perhaps apt to be more receptive to what the internet tells us for precisely the reason that it doesn't direct its words to us personally; it doesn't know who I am, is not seeking to make an impression on me.

I feel troubled by this observation. It's as if we're all starting to adopt the scrupulous mental attitude of academic researchers and we're applying this attitude to our real lives. We become more acutely aware, in our real-world contacts, of the slight inner resistance to being moulded, the inner resistance that's absent when we're just scrolling through web pages. In this matter of information, the internet downgrades the significance of real human contact to our lives, bringing a little closer the prophetic vision of E.M. Forster's remarkable 1909 short story "The Machine Stops" . We can get all the information from Google, we can get it more easily, more accurately and more comprehensively.

And yet there's a part of me that protests that e.g. information is not wisdom; that the important things in life mostly can't even be expressed as information; that what happens between us and real people is something crucial, a more profound kind of communication, or something more profound than communication.

Perhaps this is more a statement of faith than an argument. Whatever it is, how should it play out?

Burning the Leaves, watercolour by Mary Potter

[Image source: https://artuk.org/visit/venues/swindon-museum-and-art-gallery-5267 . In the Swindon Museum and Art Gallery. Mary Potter (1900 - 1981), born in Beckenham, studied at the Slade, lived in Aldeborough from 1951 (where she became a close friend of Benjamin Britten). Wikipedia. ]


Heinestrasse 60, 2011 painting by Robert Priseman


[Image source: https://artuk.org/visit/venues/swindon-museum-and-art-gallery-5267 . In the Swindon Museum and Art Gallery.  Robert Priseman was born in 1965 in Spondon, Derbyshire. Heinestrasse 60 is the house, near Vienna, to which the ten-year-old Natascha Kampusch was taken by her kidnapper Wolfgang Přiklopil, confined to a small cellar and tortured for eight years before escaping on 23 August 2006 (Her book 3,096 Days was later made into a film.) One of a series of views of ordinary houses that were scenes of atrocity, exemplifying Priseman's provocative art. Wikipedia.]


Ship Amid Tall Waves, painting by Alfred Wallis

[Image source: https://artuk.org/visit/venues/swindon-museum-and-art-gallery-5267 . In the Swindon Museum and Art Gallery. Alfred Wallis (1855 - 1942) was a Cornish deep-sea fisherman, later a marine stores dealer in St Ives. He took up painting after his wife's death in 1922, mostly on scraps of cardboard. His self-taught art was discovered by Ben Nicholson and Kit Wood in 1928 when they established their artists' colony at St Ives. Nicholson commented: "to Wallis, his paintings were never paintings but actual events". Wikipedia.]


Two Figures, drawing by Frank Brangwyn

[Image source: https://artuk.org/visit/venues/swindon-museum-and-art-gallery-5267 . In the Swindon Museum and Art Gallery. I couldn't resist including something by the prolific Frank Brangwyn (1867 - 1956), who has already featured in one recent post. Born in Bruges to Welsh parents, lived and worked in London. Wikipedia.]

Labels: , , , , ,

Wednesday, April 15, 2020

the indolent

Nettle-leaved Bellflower (Campanula trachelium). Swindon, 29th March 2020.



S L O T H


PROSECUTION


first to you            who think yourselves innocent
you the indolent

a heavy burden        you bind to yourselves
heavier than the worst crimes           heavier than the earth can bear

on you the guilt          of all the evil that never was stopped
on you the guilt         of all the good that never was done

a heavy burden               that because of you

the world goes down


Common Gromwell (Lithospermum officinale). Swindon, 29th March 2020.

CHORUS

it's by our own heart           we are forsaken
and below its steep wall       is our camp in the night
we are those who from life       are condemned to living death
thirsting in torpor                   for the springs' water

our arms we clasp hard       round our knees
tense with strain               not with rest
above the wall coping      sway the fresh trees
under their roots         we hear the springs trickle

there our life is                there our soul is
you who come to punish          how will you free us
if you know the way in        then all will be well
but take us from the springs     the desert storm crushes us

bring no crocks          to these hot dry mouths
never shall we lift        our hands to business
never         till we drink from the innermost sources
by the walls of our hearts     we wait to be transformed







Green Hound's-tongue (Cynoglossum germanicum). Swindon, 29th March 2020.

SOLO


You call, within me echoes
feebly a reply;
but deep in all my dales
is the repugnance, still.

It's something: one only
of all my people,
willing to serve you, o caller,
as your champion and advocate.

But see, I'm scared of violence
in the soul's world
and especially the strong's stupidity,
those who win by the sword.

Let my unnumbered slowly
be healed into one,
thus maybe one day our drop of blood
can answer your call!

How invincible would he be
in simple faith,
who succeeded in knitting together as one
in growing peace.

How powerless from his living skin
the day's dust would fall away.
How powerful his silent gliding
forth from the hurlyburly.









Pignut (Conopodium majus). Swindon, 31st March 2020.

CHORALE

All that is scattered and split apart
longs to be made whole
and yet prays in faithfulness.
You live among us.
Yes, though our doubt has held us bound
you too, Lord, were concealed within.



Seedlings of Green Hound's-tongue (Cynoglossum germanicum). Swindon, 5th April 2020.


A freely rendered extract from Karin Boye's uncompleted cantata The Seven Deadly Sins (De sju dödssynderna), posthumously published in 1941 in the collection of the same name. Probably relevant is the background of an imminent world war, as well as the author's own tormented struggle for integrity.


Labels: , ,

Powered by Blogger